Nick Mason and Rick Wright, of course, came from London but the three successive leaders and principal songwriters of the band: Syd Barrett, Roger Waters and David Gilmour were all Cantabrigians.Įlements of their childhood in that city impose themselves on Pink Floyd music in all three of its linked incarnations. It has a very powerful physical presence and visitors cannot avoid feeling a tremendous sense of continuity with the past.Īll art forms contain an element of the environment that created them, including rock and roll: Elvis Presley was a southern boy, Fats Domino and Dr John have the deep rolling sound of New Orleans, The Beatles were clearly from Liverpool just as the Rolling Stones were the sound of the London suburbs – and Pink Floyd were from Cambridge. The City of Cambridge is relatively small, around 100,000 people, and is one of the most beautiful cities in Britain, if not the world. Messiaen does use the tools of traditional.Despite pressure from property developers, Grantchester Meadows remains a quintessentially English patch of countryside, with muddy paths showing the passage of ducks and foxes, dogs and people, lone fishermen on the banks of the winding River Cam, distant bells from the massed church spires beyond the trees, and everywhere the sound of birdsong. Homogeneity is fabricated from the heterogeneous and, paradoxically, the result for the listener is the same. Rather than developing a single rhythmic motive through traditional processes of addition, elimination, augmentation, or diminution, Messiaen uses rhythms found in the music of Debussy and Jolivet to create an illusion of traditional development at a local level. The result might be described as assembled variation. 10-13) is based on a passage of Jolivet's "Danse nuptiale" (see Example 12e). (98) Example 12a is based on a rhythm found in Debussy's "Reflets dans l'eau" that Messiaen describes as a "short tied to the long" (see Example 12d), while the canon of Example 12c (as well as the first use of the "teu keu" effect in mm. As a whole, it imitates the "rhythmic variations" he describes in remarks on irrational rhythmic patterns in the music of Debussy, Ravel, and Jolivet. Messiaen creates this passage by juxtaposing existing elements that caught his attention during his intertextually oriented analyses. All three rhyuhms share an opening salvo of thirty-second notes followed by a gradual, decay-like effect of more widely spaced attacks. This canon is based on the rhyuhm first heard in measures 10-13 and serves to close the frame opened at the beginning of the work and develop that earlier rhythm while also relating it to the intervening propositions heard in measures 78-83 and 84-86. The effect is developed by the tenors in measures 84-86 (see Example 12b), before leading to a canon between the basses and tenors in measures 89-97 (see Example 12c). 10-13), is reintroduced pianissimo in the bass parts (see Example 12a) beneath the fortissimo counterpoint sung by the upper voices. In measures 78-83 the spoken effect, not heard since the introduction (mm. The movement's close, our focus here, aligns three similar rhythmic propositions. The effect is used to voice only the attacks of rhythms that, in their original contexts, are composed of longer, sustained durations. The opening and close of the movement are framed by a spoken effect in the basses and tenors that recalls the "teu keu" syllables of double-tonguing wind instruments. In the fifth of his Cinq rechants (1948) Messiaen assembles and develops rhydimic elements found in the music of Debussy and Andre Jolivet to give an illusion of rhythmic continuity. The use of common motivic material to link borrowed formulas in "Bail avec Mi" and "La Transsubstantiation." The extended juxtaposition of three harmonic formulas from Debussy's Images in "La bouscarle."Ĥ. The alignment of Debussian rhythms with harmonic and melodic materials of different origin in Harawi.ģ. Assembled rhydimic variations in Cinq recbants.Ģ. Four points of focus illustrate four different strategies:ġ. This final section (Examples 12-20) focuses on the way the composer combines elements of disparate origin in order to build composite textures and forms. Heretofore it has been necessary to focus primarily on individual cases of borrowing in order to describe the various transformational methods of Messiaen's borrowing technique.
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